Picas and Points for Page Layout | Typesetting with Pica Measurements
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Bit-Mapped Fonts
PRINTING METHOD 24-pin, impact dot matrix PAPER FEED Convertible push/pull tractor for rear, front and MECHANISM bottom feed; automatic fanfold paper load; auto- PRINT DIRECTION Bidirectional with logic seeking in text and graphics modes matic single sheet, paper stacking; friction feed; top and front automatic single sheet load; Advanced PRINT SPEED High speed draft: 225 cps (10 cpi) Paper Handling: micro-adjustment for top-of- (Bit-mapped fonts) Draft: 315 cps (15 cpi) form and tear-off mode, paper parking for loading 252 cps (12 cpi) single sheet paper without removing continuous 210 cps (10 cpi) paper; optional: additional pull tractor, standard- Letter quality: 105 cps (15 cpi) capacity cut sheet feeder and high-capacity cut 84 cps (12 cpi) sheet and envelope feeder 70 cps (10 cpi) PAPER FEED SPEED 77.6 milliseconds per 1/6" line spacing; CHARACTER MATRIX 9 x 22 draft mode (10 cpi) 2.2” per second continuous feed (Bit-mapped fonts) 31 x 22 letter-quality mode (10 cpi) 22 x 16 letterquality mode (15 cpi) PAPER HANDLING 37 x 22 proportional Single sheets: Top loading: 5.8” to 16.5” CHARACTER SETS 96 ASCII characters; 15 international Front, loading: 7.2” to 14.3” character sets; 128 user-defined ® Continuous: 4.0” to 16.0” characters; extended IBM -style No. 6 envelopes: 6.5” x 3.625” graphics characters: legal charac- No. 10 envelopes: 9.5” x 4.125” ters; 5-code pages Labels: 2.5” x 5.9” SCALABLE FONTS Epson Roman 8 to 32 points Forms: Continuous multi-part, original plus three carbon- Epson Sans Serif 8 to 32 points less copies; maximum thickness 0.012 inches RESIDENT Epson Draft 10, 12. -
Relief Printing Letterpress Machines
DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
Agenda for the Regular Business Meeting of the Council of West Windsor Township 271 Clarksville Road to the Extent Known
MEETING TO BE BROADCAST ON COMCAST CHANNEL 27 AND VERIZON CHANNELS 41 AND 42 AGENDA FOR THE REGULAR BUSINESS MEETING OF THE COUNCIL OF WEST WINDSOR TOWNSHIP 271 CLARKSVILLE ROAD TO THE EXTENT KNOWN June 26, 2017 7:00 p.m. 1. Call to Order 2. Statement of Adequate Notice – January 6, 2017 to the Trenton Times and the Princeton Packet. 3. Salute to the Flag 4. Ceremonial Matters and/or Topics for Priority Consideration Recognition of Chief Joe Pica for his Years of Service to West Windsor Township Filling of Council Vacancy Filling of the Environmental Commission Liaison Route 1 Concept Plan Presentation Presentation from Mercer County – Rt. 571 and Clarksville Intersection Improvements 5. Public Comment: (30 minutes comment period; 3-minute limit per person) (1) 6. Administration Comments 7. Council Member Comments 8. Chair/Clerk Comments 9. Public Hearings 2017-23 AN ORDINANCE AUTHORIZING THE ACQUISITION OF A TEMPORARY CONSTRUCTION EASEMENT FROM ELISABETH LINDA LOUISE MIHAN LOCATED AT BLOCK 5, LOT 39 – 43 Cranbury Road 2017-24 AN ORDINANCE AMENDING THE CODE OF THE TOWNSHIP OF WEST WINDSOR, CHAPTER 168, “TRAFFIC AND PARKING” ARTICLE VI, “PARKING AUTHORITY PROPERTY” AND ARTICLE VII, “SCHEDULES” 10. Consent Agenda A. Resolutions 2017-R170 Appointing Jill M. Swanson and Eileen Lang as Alternate Deputy Registrars 2017-R171 Appointing James Yates, Manager of Fire and Emergency Services as Emergency Management Coordinator and Incoming Chief Garofalo as Deputy Emergency Management Coordinator for the Term of Three Years 2017-R172 Authorizing the Insertion of the State of New Jersey Clean Communities Program in the 2017 Municipal Budget - $59,059.86 (2) 2017-R173 Authorizing the Insertion of the Alcoholic Rehabilitation & Enforcement Fund in the 2017 Municipal Budget - $4,503.79 B. -
Variable First
Variable first Baptiste Guesnon Designer & Design Technologist at Söderhavet A small text Text with hyphen- ation Gulliver, Gerard Unger, 1993 Screens are variable first Static units Relative units Pica, type points, %, viewport width, pixels, cm… viewport height Why should type be static… …while writing is organic? Century Expanded plomb from 72 pt to 4 pt and putted at a same scale Image by Nick Sherman Through our experience with traditional typesetting methods, we have come to expect that the individual letterforms of a particular typeface should always look the same. This notion is the result of a technical process, not the other way round. However, there is no technical reason for making a digital letter the same every time it is printed. Is Best Really Better, Erik van Blokland & Just van Rossum First published in Emigre magazine issue 18, 1990 Lettering ? Typography Potential of variations in shape a same letter [————— 500 years of type technology evolution —————] Metal / Ink / Paper / Punch & Counterpunch / Pantograph / Linotype & Monotype / etc. Opentype Gutenberg Postscript Photocompo. Variable Fonts Change is the rule in the computer, stability the exception. Jay David Bolter, Writing Space, 1991 Fedra outlines, Typotheque Metafont Postscript Truetype GX Opentype 1.8 (Variable Fonts) Multiple Master Ikarus Fonts HZ Program Webfont Opentype (.woff) Now 1970 1975 1980 1985 1990 1995 2000 2005 2010 Punk/Metafont Beowolf Digital Lettering Donald Knuth Letteror Letteror 1988 1995 2015 HZ-program Indesign glyph scaling glyph scaling Skia, Matthew Carter for Mac OS, 1993 How to make it work? The Stroke, Gerrit Noordzij, 1985 Metafont book, Donald Knuth Kalliculator, 2007, Frederik Berlaen Beowolf, Letteror, 1995 Parametric fonts ≠ Variable fonts Designing instances vs. -
</Break>The Role of Format and Design in Readability
Pleasing the reader by pleasing the eye—Part 1 The role of format and design in readability Gabriele Berghammer1, Anders Holmqvist2 Correspondence to: 1the text clinic, Vienna, Austria 2Holmqvist AD & Bild, Lund, Sweden Gabriele Berghammer [email protected]; www.the-text-clinic.com Abstract Whoever writes wants to be read. Yet, even if we punctuation marks, and visuals are arranged on a succeed in creating an informative, logically struc- piece of paper can be as much a part of the story tured, and adequately worded text tailored to our as the content itself. They can make or break a target audience, i.e., text we consider to have an message. adequate level of readability, our documents may At least that ’s what we thought. Seeing, however, still go unread—or read with antipathy. Next to lin- that many of today’s publications, particularly in the guistic factors, therefore, there is a wide range of areas of technical, informational, and instructional other aspects determining how well we understand prose, fall short of what we have come to perceive a text, including layout, typography, or cultural ade- as essential aspects of our crafts, we started to ask quacy. Documents people can use effectively and ourselves whether, in these fast-paced times of with ease have language, graphics, and design budget constraints, format and design had become combine into a harmonious whole. Good design an obsolete luxury reserved for belletristic literature helps arouse interest and singles a text out from or art. Not long ago, one of the authors (GB) read a many others that vie for our attention. -
Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
GOING in STYLE (#3): on TYPOGRAPHY, PART 2 Typography Is “The Visual Component of the Written Word.” (Matthew Butterick, Ty
GOING IN STYLE (#3): ON TYPOGRAPHY, PART 2 Typography is “the visual component of the written word.” (Matthew Butterick, Typography for Lawyers: Essential Tools for Polished & Persuasive Documents (2nd ed. 2015) p. 20.) As discussed in the previous issue of this series, typography is a subtle but significant aspect of every brief we file, with the capacity to improve persuasiveness by making reading easier and demonstrating professionalism through attention to detail. While there are few hard rules in brief typography, there are many areas that call for practitioners’ consideration and consistency. The previous issue addressed two aspects of typography — type composition and text formatting. Here we will take up a third — page layout. PAGE LAYOUT Page layout is the way text looks on the page, including the amount of white space. The California Rules of Court impose a single page layout requirement: rule 8.204(b)(6)1 requires margins of 1.5" on left and right sides, 1" top and bottom. Other than that, brief writers have decisions to make. ● Line spacing Line spacing, the vertical distance between lines of text, must be a minimum 1.5 lines. (Rule 8.204(b)(5).) Although experts generally say something slightly less than 1.5-spaced lines is best for reading, it depends on how long the lines are. (See Ruth Anne Robbins, Painting with print: Incorporating concepts of typographic and layout design into the text of legal writing documents (2004) 2 J. Assoc. of Legal Writing Directors 108, 123–124.) In an appellate brief with 1.5" margins on an 8.5 x 11" page,1.5-spaced lines, which is what the 1 Citations to rules refer to the California Rules of Court. -
How to Page a Document in Microsoft Word
1 HOW TO PAGE A DOCUMENT IN MICROSOFT WORD 1– PAGING A WHOLE DOCUMENT FROM 1 TO …Z (Including the first page) 1.1 – Arabic Numbers (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. 1.2 – Other Formats (Romans, letters, etc) (a) Repeat steps (a) to (c) from 1.1 above (b) At the “Header & Footer” Section, click on “Page Number” drop down menu. (C) Choose… “Format Page Numbers” (d) At the top of the box, “Number format”, click the drop down menu and choose your preference (i, ii, iii; OR a, b, c, OR A, B, C,…and etc.) an click OK. (e) You can also set it to start with any of the intermediate numbers if you want at the “Page Numbering”, “Start at” option within that box. 2 – TITLE PAGE WITHOUT A PAGE NUMBER…….. Option A – …And second page being page number 2 (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. -
Glossary 1 Terms Used in Graphic Design and Printing
Computer Presentation of Data 121 GLOSSARY 1 GLOSSARY 1 TERMS USED IN GRAPHIC DESIGN AND PRINTING Words in italics are separately defmed. alphabet length The space occupied by the 26 lowercase letters in a given typeface and size, when they are set in a single line without spaces. alphanumerics Letters and numbers, as opposed to other kinds of symbol. artwork Text or graphics presented in a form suitable for reproduction. In desktop publishing, the artwork is usu ally in the form of output from a laser printer. ascender Thepartofalowercase letter, such as 'd' or'h', that rises above the x-height. asymmetrical layout A page layout that has no central axis. Typically, both headings and text would be ranged left. back-edge In a bound document, the edge of the page nearest to the binding. baseline An imaginary horizontal line with which the bases of most lowercase letters (i.e. those without descenders) are aligned. baseline-to-baseline measurement The measurement (usually in points) from the baseline of one line of type to the baseline of the next. See also: linefeed. body size The term originates from metal type and it refers to the size of the 'body' on which each character is cast. The body size, usually measured in points, is the vertical di mension of the surfaces carrying the characters. With digital type there is no physical body, so the term has little relevance. See also: point size. brightness The subjective impression caused by the lumi nance of an object. cap. height See: capital-letter height. capital-letter height The height of the capital letters in a given typeface and size, measured from the baseline to the capita/line. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
236 Tugboat, Volume 9 (1988), No. 3 Some Typesetting Conventions
236 TUGboat, Volume 9 (1988), No. 3 Some Typesetting Conventions suitability to contents Graeme McKinstry, Not all these factors are equal in their effect on readability University of Otago, nor are all the factors within your control but it is possible New Zealand. to use some of the above factors to make your documents more readable. One of the major advantages of T@ is that it makes it possible for authors to typeset their own work. However, Typeface and size of type this new found power has not been automatically asso- There are two broad classes of fonts: serif ("serifs" are ciated with a knowledge of typesetting and typographic the finishing strokes at the end of letters) and sans-serif design and so some very unreadable documents have en- (without serifs, e.g., fonts such as Helvetica). Of the sued. This is further exacerbated by authors believing two, serif fonts (such as Computer Modem, and Times- they do know something about typesetting ("Doesn't ev- Roman) are easier to read for large quantities of text, eryone?") and ignoring all attempts to lead them in the "because it has been shown that we read our own lan- right direction, e.g., LV@. guage not letter by letter but by recognizing the shapes Although TEX users are less prone to fall into this of words . " [31. The serifs tend to help in this "shape trap as compared to your average WYSIWYG user there are recognition". For example try to decipher the following still some fundamental typographic lessons to be learned. two lines (they don't form words): These principles are so fundamental that even a com- puting consultant, such as myself, is able to learn, and possibly even more importantly, understand why we have them.